Artisans of the late Middle Ages crafted the largest and most long-lived colored images in human history. Many of the monumental stained glass windows created during this period are still vibrantly colored after centuries of UV exposure and weathering – something that cannot be said for any 20th century plastic, paint or other process. Ceramic tile mosaics last that long, but when you look at glazed ceramics, you are really looking at colored glass. In my own quest for long-l

I’ve been experimenting with dichroic films to lend vibrant color to some sculptures that I'm planning for a sun-drenched urban site. This dichroic material has an ultra-thin film of metal that reflects one color and passes another - and those colors change depending upon the angle that the light moves through. As you move around dichroic material and look through it, you see changing colors, making it somewhat interactive. As the sun moves through the sky, this material cast

The most fundamental rule for interactive art is to respect people's agency. There should be a clear and repeatable connection between what people do and how an artpiece reacts. That's how they can make the artpiece an extension of themself and begin to play with it. Only Connect, recently installed in a children's library in Fort Worth, has a series of secret buttons hidden among the book stacks. Each button triggers an animation inspired by the subjects of the books around

Light-based sculptures offer an opportunity for art to activate a larger space than the sculpture physically occupies. With that power comes the responsibility to be intentional with color use. In this piece, Small Talk About the Weather, we wrote an algorithm to process NOAA weather footage and visitor's inputs to create groups of color that work well together at every time. These projection sculptures use a unique point-source light fixture to project color into the space a